STOCK AITKEN WATERMAN have remixed Kool And The Gang’s ‘Celebration’ for supposedly rush release, but have just been preceded by Jon Williams & Carl Daniel’s rival 121¾-122-121⅔-121¾ surprisingly unincongruous acidically twittering ‘Celebration ’88 (The Moet Mix)‘ (Club JABX 78), with a similar though thinner 121⅔-121¾-121⅔ Chandon Mix flip — when I broke the news to Mike Stock, he said “It sounds like someone’s pulled a flanker, I’ll get right on that!” … Home Secretary Douglas Hurd has declared that anyone convicted after January 1 of illegal broadcasting will be barred for five years from applying for the new “community of interest” local radio licences — to put this in perspective, the DTI’s radio investigation service has so far this year made over 300 raids on 58 pirate stations in London alone (I hope they caught the idiot who was swamping Capital Radio’s FM frequency in Central London last Wednesday!) … Channel 4 this Wednesday (7) show at 10.10pm an hour long documentary on ‘Club Culture‘, looking at rap, house and a bit of Balearic in a rather wordy way, talking to names who matter and more who don’t in a poorly researched style — mis-spelling Africa Bambaataa, Danny Dee, and (sniff!) not once mentioning RM … MCA Records, number one in just about all sales categories for 1988 in the US trade papers’ year-end lists, are nevertheless making sweeping staff redundancies right through their American operations, and are about to move their many successful black acts over to Motown (which they now own) to leave the parent label for — dare one say? — white acts … Serious Records would appear to have survived a court hearing for their winding up, but meanwhile of course the company’s Mahesh Bajaj has also recently started the separately run Low Fat Vinyl label along similar lines … Adeva ‘Respect’ is out here on January 3 … Adonis apparently is disguised as Jack Rabbit Martin for the deep house-ish ‘Only Wanted To Be‘ (on promo white label ahead of inclusion in Westside Records’ imminent ‘Acido Amigo‘ double LP), romantically mumbling through a loosely flying 125½bpm beat, city sound effects and gently wailing background girl, his vocal electronically slowed down for the otherwise galloping 125¼bpm seriously acidic flipside version … Tyree’s upcoming ffrr album declares “from Tyree Cooper —Todd ain’t God!” … Double Trouble have just completed a reputedly “killer” Todd Terry megamix for Germany’s ZYX label … Dutch house is what’s going to happen instead of Belgian “new-beat”, if you believe a certain rotund A&R star … Jade 4 U is possibly the artist, not 101, on the confusingly labelled Belgian ‘Rock To The Beat’ version … Chris Paul, now acid is cooling off here, has started a possibly weekly Wednesday acid night guest with London DJs at Tito’s — in Palma, Majorca! … Chicago DJ Fast Eddie, whose next UK single will be ‘Hip House’, is touring here this month at Maidstone’s Warehouse and Folkestone’s Tonights (Thursday 8), Birtley’s Libertys (Fri 9), Chippenham’s Gold Diggers (Sat 10), Twickenham’s The George (Sun 11), Swansea’s Martha’s Vineyard (Mon 12), Peterborough’s Gables (Tues 13), Westerham’s Grasshopper Inn and London’s Dingwalls (Thurs 15), Gravesend’s Slammer (Fri 16), Gillingham’s Catch 22 (Sat 17), Welling’s The Station (Sun 18) — why so much in Kent?… Key 103FM’s hip hopper Stu Allan has his fortnightly dance night at Preston’s Gatsby on Monday (12) … Phil Collins ‘Two Hearts’ is of course 155½bpm, not as printed last week — incidentally, I picked up on the comment hidden in last week’s Kiss AMC ad, and after careful comparison agree that ‘Let-Off’ does go back to the Supremes rather than to Phil Collins for its ‘You Can’t Hurry Love’ bassline (they use some ‘Reflections’ too, I now notice), but what had made me assume otherwise at first was the suspicious fact that both Kiss AMC and Phil are exactly 196bpm, the Supremes however being around 194-198 … NANU NANU!
Capital Radio/Night Network star rap presenter, Tim Westwood (above) and studio engineer Chris Bevington have launched their own rap label with their self-produced TROUBLE ‘I Get Hype’ (Justice JTT 002), an exciting Public Enemy-ish frenetically churning and scratching ‘Give It Up Or Turnit A Loose’-based fast talker by North London’s M.C. B, D.I Jay and beat programmer Reinforced Gus (like it!), in 111¼bpm main vocal, 111⅓bpm Mono and 111bpm Instrumental mixes (sparsely booming slow chatting 84¾bpm ‘I Guess It’s Dope’ too), plus MICHEE MEE & L.A. LUV ‘Run For Cover’ (Justice JTT 001), a Scott La Rock and KRS-1 produced (obviously some time ago) in Canada plaintive scolding 90⅓bpm jiggler by the Toronto based West Indian female rap duo (lurching 93½bpm ‘Elements Of Style‘, and instrumentals, too).
Confusingly, these girls also have out on import the newer MICHIE MEE & L.A. LUV ‘Victory Is Calling’ (US First Priority Music 0-96593), a reggae toasting style started guy heckled lead swapping jittery 98⅚bpm wordy throwdown (funkily backed similar stark strident 0-94⅔bpm ‘On This Mic‘, and dubs, too), the word play being all important and very good.
MCA RECORDS have, in their usual style, released US pressings here at UK prices of Bobby Brown ‘My Prerogative’ ahead of full UK availability this week (as MCAT 1299) … Black, Rock and Ron ‘Black, Rock and Ron’ is of course based on Ripple’s ‘The Beat Goes On’, whose ‘I Don’t Know What It Is But It Sure Is Funky’ is used by Kid ‘N Play ‘Rollin’ With Kid ‘N Play’ — incidentally, the latter’s ‘2 Hype’ album, reviewed in full on import recently, is now out here on Cooltempo (CTLP 10) … Raze ‘Break 4 Love’ was released here by Champion back in May but is charting now in its current US hit pressing (on US Columbia 44 08164) which seems strange as its 119⅓-0bpm Spanish Fly and 119-0bpm French, Italian, and Caught In The Act mixes were all in fact out here then … Adeva’s Rough Mix and Rough Dub turn out to be a slightly slower 117½bpm, the other three versions being confirmed at 119bpm … Les Adams has created a much beefier remix of Code 61 ‘Drop The Deal’ (an early example of “new-beat”), whereas his 0-125-0pm remixes of Maurice ‘This Is Acid (A New Dance Craze)’ (due on Breakout in a fortnight) could rekindle the whole “acieed” thing, fiercest being the flip’s ‘A Day In The Life’ adopting K & T Mix — that’s the Kev & Trev Mix, the S & T Mix being Sharon & Tracyl … Les has also totally remade (stripping away all of Patrick Cowley’s backing to leave just the original vocal) Sylvester’s ‘Do You Wanna Funk’ in updated beefier style for European release, something which maybe Domino Records should investigate as a replacement for their big selling original version and Housey Housey Mix here —incidentally, this Portsmouth based label has just reissued its old pairing of Donald Byrd ‘(Fallin’ Like) Dominoes’/ ‘Change (Makes You Want To Hustle)’ (DOMT 5) following both tracks’ recent use by respectively Stetsasonic and Blow … ‘Hello Children … Everywhere‘ (EMI EM 1307), a double album of children’s favourites from the Fifties and earlier, looks as if it could be useful for mobile and party jocks … I hope that all the really good mixers whom I keep being assured do exist in Bristol will enter the upcoming UK DJ Mixing Championships heat there (as detailed last week), and the same applies to mixers everywhere — if you all enter and make the contest truly tough this time, you’ll leave no room for the amateurs who sometimes get through at certain heats just to make up the numbers (that way there’ll be no shame even if you don’t win when competing against your equals) … Disco Mix Club’s UK final of the DJ Mixing Championships at the Hippodrome on February 13 now clashes with the BPI’s annual televised British Record Industry Awards at the Royal Albert Hall, which could well deflect record company interest from the mixing (in turn, the World DJ Mixing finals at the Royal Albert Hall on March 14 will also be filmed by BBC-TV, and will be an advance ticket only affair this time, to cut out the rude boys) … Cash Money shows off his New Music Seminar US mixing champion’s belt on the sleeve of his new single, evidently in the belief that this award has more relevance for his American audience than the fact that he beat the whole world in London! … Run-DMC’s movie ‘Tougher Than Leather’ would appear to be causing murder and mayhem in some US cinemas, patrons shooting each other in the stalls … ‘I’m Housin’‘ will be EPMD’s next US single … Arnold Jarvis ‘Take Some Time Out‘ is yet another current “deep house” revival, from April last year .. Steve ‘Silk’ Hurley — inspired by his OMD mix? – has just remixed New Order ‘Fine Time’ … Chris Moore now presents both weekend soul shows on Cardiff’s Red Dragon Radio, 5-7pm Saturdays and 7-9pm Sundays (he obviously wants all soul/dance-type records sent to the station to be addressed to him) … Tim Westwood, Richie Rich, and Hardrock’s Max ‘N’ Dave are joined this Tuesday (29) at Camden Lock Dingwalls by the Demon Boyz, Too Tuff, Trouble, The London Posse, DJ Pogo, Cutmaster Swift … The peripatetic Shoom! seems to have settled every Wednesday at Busbys in London’s Charing Cross Road … Mark King has moved from Putney to present upfront Fridays at Camberley JW’s … Les Adams’ mixing night at Milton Keynes’ The Club at The Point has switched to Friday, as they couldn’t afford him on a Saturday! … John ‘Superstar’ Saunderson is at Southend-on-Sea Mr B’s Thurs/Sat, Ealing Broadway Boulevard Fri/Sun … Michael Jackson’s ‘Bad’ album may have sold over 2,250,000 copies here but neither it nor the singles from it have had anything like the lasting impact that ‘Thriller’ did, at disco or any other level … ‘Twist And Shout’ was first recorded by the Top Notes on US Atlantic, released here at the time oddly as a Nino Tempo & April Stevens B-side, their version being continuously flat out frantic and very different from the subsequent Isley Brothers recording … ‘The Hitman And Her’ has become much improved now that it visits clubs where better camera angles can be used, and especially now that Pete Waterman has come out from behind the turntables, the result being really good madcap (if still shambolic) fun, Pete’s comments and asides being the best ingredient … Pasadenas producer Pete Wingfield playing piano behind Robin Beck on ‘Top Of The Pops’ — the real thing? … You all know my feelings on acid house, but we’d like to know yours, being DJs and acid club goers, so fill in the questionnaire on page 12 and get it back to us pronto… NANU NANU!
LES ADAMS and I are for the next few weeks creating the five hour continuously mixed New Year’s Eve party music tape for Capital Radio, and in the process finding out just how good is this, Les’s brand new home studio. No longer in South London’s Worcester Park, this custom fitted, totally carpeted, and at last relatively spacious studio is 50 miles up the M1 in Les and Emma’s recently purchased Newport Pagnell house (close to the third L.A. Mix member, Mike Stevens).
IF IT’S DECEMBER, IT MUST BE BELGIUM
WHY BELGIUM? Why should this country have reduced music to a bare electronic minimum, to create a local craze that is now being aggressively promoted as the new beat, or “new-beat”, “nieuw-beat”? It’s a country with no black music tradition (despite the Congo!). Instead there is a prosperous Silicon Valley electronics industry, and the emphasis in everyday living is on technology, the conspicuous consumption of the latest cars and electronic equipment setting the lifestyle of the well-heeled young. Already CD singles have a significant share of the dance music market. Television beams in from all around Europe, Britain included, making Belgium a melting pot. A soulless melting pot. It seems inevitable that electronic music would get a hold on such a place. Slow to change, the clubs there were still hung up on the Barry White/Gloria Gaynor “disco” syndrome until an Antwerp DJ called Fat Ronnie started to build a reputation for himself in 1985 by playing German and British electro-pop. As an antidote to fast “disco”, he and others began playing Hi-NRG and instrumental B-sides at the wrong, slow, speed, which created new low frequencies and phase shifts. Using Technics decks, it become common for 45rpm records to be played at 33⅓rpm “plus 8%” (on the vari-speed control). As Fat Ronnie had ended up in a club called Ancienne Belgique, the music became known by the club’s initials as “A.B.-Sounds” (hence the mysterious subtitle on the previously reviewed ‘New Beat — Take 1‘ compilation LP). Just as club trends spread here, so the word spread across Belgium and neighbouring countries, the mobile club crowd driving from city to city on the right nights for the right venues. Inevitably, purpose made records then were made for this still underground market, but — just as with the big “house” hits here — certain surprise hits leapt up the local charts without any radio support (the big difference in Belgium is that now they just don’t dance if the beat is fast — and it’s a totally drug-less scene). Only recently did the name of the music change to “nieuw-beat”, as several record companies set about catering to the market, a market based largely on Antwerp’s influential USA Import record shop. The best records however tend to be made by the DJs themselves, the worst being cynical cash-ins (sound familiar?). The first company to recognise the trend, Antler Records set up the Subway label, whose Maurice Engelen actually wrote to me about “new-beat” some months before the style’s records were more widely available here. He describes it as “a new form of repetitive dance music, combining post-electronic synthesisers and samplers, a dose of pathos and a portion of passion, a diet of ’round about 110bpm and the typical Belgo-European sound as it was developed by bands such as Front 242, A Split Second, Cabaret Voltaire and D.A.F.” I can see why I wasn’t terribly interested at the time — just the sort of stuff I’ve tried to avoid! If “new-beat” has any real effect in Britain, I feel it’s more likely to accelerate the next revival cycle, and reawaken interest in the late Seventies/early Eighties “new romantic” era British electronic acts who originally inspired the Belgians. The time gap seems about right for history to repeat itself, each generation looking back with nostalgia to the music of their big brothers and sisters, as any study of the UK charts will show. In the meantime, today’s Belgian kids are packing places like Ghent’s Boccaccio on Sunday night and doing a pose-y slow standing still dance to the stuff that Belgian record companies are hoping they can persuade us to like as well.
As previously mentioned, a variation on Reese & Santonio’s ‘Rock To The Beat’ has been huge in Belgium, the hit that’s assimilated it being GHENTLON ‘Cheebala’ (R&S Records 880011), most ‘Back To The Beat’-like in the flip’s thuddingly tumbling and twittering 119⅓-0bpm Jolly Boy Mix, the Acid Freak Mix being more routinely acid house-like. However, there is also a confusingly labelled “ecstasy, ecstasy”-introed phonetic (0-)121bpm remake of the actual Reese & Santonio tune, 101 ‘Rock To The Beat‘ (Speed 001), with a noisily chugging 117⅓bpm ‘Saigon Nightmare‘ flip.
Previously mentioned, THE MAXX ‘(The Biggest Illegal Export) Cocaine‘ (German BCM Records 12009) is a documentary quoting and “cocaine”-repeating ploddingly thumping 0-109⅚-0bpm twittery synth chugger, while The Maxx created (back in February) one of the big “new-beat” hits, CONFETTI’S ‘The Sound Of C…’ (German Ariola 611 891), a synth driven thumping and twittering 0-109⅓-0bpm lurcher with deadpan male repeated elaboration of the title line insisting “this is a new style of music”.
More recent are JADE 4 U ‘That Boy (Acid Mix)’ (Subway Records SUB 043), a Tubeway Army type buzzing synth chorded rolling 107⅙bpm instrumental chugger with monk-ish wordless chanting, enough like 1979 to sound comfortingly familiar now; T.99 ‘Slidy‘ (Who’s That Beat? WHOS 4), breathily intoned and phonetically rapped “it’s new beat, it’s a new style” 109bpm synth tinkled lurching chugger; MISS NICKY TRAX ‘Acid In The House‘ (KAOS dance records KAOS 004), dull monotonous sibilant title chanting jittery 114¾bpm twittering lurcher. Another usefully exhaustive compilation album is ‘New Beat — A New Style Of Music‘ (German BCM Records 33015), which by the looks of things I’m going to have to detail next week as I’m running out of room!
DISCO MIX CLUB’s 1989 UK Mixing Championships heats will be in January on Mon/Tues/Wednesdays, at Glasgow Hollywood Studios (9), Stockton The Mall (10), Leeds Warehouse (11), Manchester Hacienda (16), Liverpool The State (17), Nottingham New York New York (18), Swansea Martha’s Vineyard (23), Bristol Papillon (24), Southampton New York New York (25), Ealing Broadway Boulevard (30), Romford Hollywood (31), and in Northern Ireland at Portrush Traks on February 1 (a separately organised event) … Regional Finals follow likewise in February, at Sheffield Cairo Jax (6), Chippenham Goldiggers (7) and Leigh Reubens (8), with the UK Final at London’s Hippodrome on Monday, February 13 … DJ competitors should contact John Saunderson on 06286-67124 for entry details, while rappers wanting to enter the regional finals’ three rap heats should send demo cassettes to him at PO Box 89, Slough SL1 8NA … I hope to be judging as usual at all the mainland dates, snow and Thursday dawn deadlines permitting on the Wednesday nights (you may have noticed the increased number of Northern venues, which reflects the far greater response this contest gets the further it is from London!) … RePublic Records’ back-to-back pre-released Turntable Orch and Kym Mazelle tracks will not be released separately until after Christmas, provisionally on December 28 … Kym Mazelle ‘I’m A Lover‘ (misprinted anyway but on closer examination 118-118½-116⅔-116¾bpm, with an 116⅓-0bpm dub) first surfaced on import back in January, and was returned largely in Manchester charts for some weeks but I regret was never reviewed then as my local record shop either couldn’t get it or wasn’t shifting it — however, Turntable Orch ‘You’re Gonna Miss Me‘ (confirmed in its 12″ Extended Ver. as 0-115¾bpm, with an 116-0bpm Dub Ver.), which surfaced on 0-115½bpm import in March, was reviewed soon after with perhaps some foresight as an “excellent hopefully not over subtle piano nagged unhurriedly jittering burbling garage groove”, but failed to hit The Club Chart at the time … Ce Ce Rogers’ piano plonked moaning smooth Marshall Jefferson-created 119⅓-0bpm deep house ‘Someday‘ goes back even further, first showing up in Manchester during July/August 1987, peaking early December again without quite hitting The Club Chart — now it’s on UK promo and much revived … Rickster ‘Night Moves‘ (originally on import in January), Raze ‘Break 4 Love‘ (from the spring), Julian Jonah ‘Jealousy & Lies’ (hottest for the trumpet washed Alkaline and Litmus remixes), the enduring Night Writers ‘Let The Music (Use You)‘, Ten City ‘Devotion‘ (and even ‘Right Back To You’), Park Ave. ‘Don’t Turn Your Love‘, Ralphi Rosario ‘You Used To Hold Me‘, Joe Smooth ‘Promised Land‘, and (bouncing off the similarly Ronald Burrell-produced Bäs Noir’s success) Tech Trax Inc ‘Feel The Luv‘ are some of the other notable “deep house” revivals that the “acid” backlash has suddenly brought to the surface … ‘Don’t Believe The Hype’, the News At Ten inspired 0-126-0bpm acid track, has appeared as by Mista E now on Urban (URBX 28), impersonator Steve Coogan of ‘Spitting Image’ replacing the original promo’s actual Alastair Burnet, Sandy Gall and Paul Gambaccini voices (a jokey The Copyright Mix is due to follow!) … Champion Records’ UK pressing of the Royal House newie is fractionally slower than the import, making ‘Yeah Buddy’ 122½-122¾-123-0bpm, ‘The Chase’ 0-106⅙-0bpm, ‘Can You Beats (Dirty Beats)’ (0-)122⅙-0bpm … Cherrelle’s ‘Affair’ album is out here now (Tabu 460734 1) … Stock Aitken Waterman’s commercial pressing of ‘S.S. Paparazzi’ contains the Hassell-Bladder and Yoyo’s Dub Mixes on the B-side but has two new The Crowning King and The Boys Have A Go Back Mixes as A-side, still 124½bpm — thanks for making me waste effort and time … Arista’s correct catalogue number is 611 916 for the Four Tops ‘Loco In Acapulco’, which also turns out to be in a pH Balance Mix and pH Dub — it would be so much easier if they labelled their promos properly to begin with — and likewise, The Boozin Bang’n Dance Crew have become just B.B.D.C. on UK issued Priority Records (PX 22) … grrr! … I tend to wait for most of the UK releases to get near The Club Chart before bothering to BPM and review them these days, as there just are too many bloody records coming out to keep up with them all — I haven’t had time to review Alexander O’Neal’s ‘My Gift To You’ LP (typically treated vigorous, and some slushy, Christmas songs!) amongst others this week, for lack of time … Paul Oakenfold “playing” guitar with Electra on ‘The Hitman And Her’ — get right on one matey … NANU NANU!
HOT VINYL
INNER CITY ‘Good Life (Magic Juan’s Mix)’ (10 Records TEN X 249)
Another ‘Big Fun’-style breezily bounding 125bpm vigorous “techno” galloper with Paris Grey chanting, cooing and wailing the catchy lyrics, flipped by Derrick May’s rattling 125¼bpm Mayday Club Mix, plus Les Adams’ old “industrial” 122⅓bpm L.A. Big Big Fun Remix of ‘Big Fun’ for some reason again.
RHYTHIM IS RHYTHIM ‘It Is What It Is (Majestic Mix)’ (US Transmat MS 6)
Derrick May produced nervily pulsing, fluttering and sizzling synth washed 124¼-124½-0bpm techno twitterer in washing machine style, already known from 10 Records’ ‘Techno!’ album, flipped (at 33⅓rpm) by the brand new frantically acidic 129¾bpm ‘Beyond The Dance (Bizarro Mix)‘ and electronic drums thrashed skittery 124⅔-123¾bpm ‘Feel Surreal (Subconscious Mix)‘, all instrumentals.
ADEVA ‘Respect (12” Extended Version)’ (US Chrysalis/Cooltempo 4V9 43329)
Paul Simpson mixed gentle synth burbled (0-)119bpm rambling girl wailed superb fluidly weaving “garage” adaptation of what you suddenly realise in surprise is Otis Redding’s classic, quite unlike The Real Roxanne’s current treatment (in five mixes), sure to be huge at deep house/garage gigs. Presumably Adeva equals “a diva”? Continue reading “November 26, 1988: Inner City, Rhythim Is Rhythim, Adeva, Black Rock & Ron, Armando”
NEW ALBUMS I regretfully had neither the time nor space to review this week include the ‘Hearsay’ remixing Alexander O’Neal ‘All Mixed Up’ (Tabu), his ‘My Gift To You’ Christmas album not being out here until next month; Jimmy Jam & Terry Lewis-created surprisingly soulful Pia (Zadora) ‘When The Lights Go Out’ (Epic); likewise surprisingly good Sheena Easton ‘The Lover In Me’ (US MCA Records); break beats based The 45 King ‘Master Of The Game’ (US Tuff City); subdued rapping Sweet Tee ‘It’s Tee Time’ (US Profile); sweetly squeaked sultry Angela Bofill ‘Intuition’ (Capitol); rare grooves compiling Various Artists ‘Boogie Tunes 2‘ (Graphic Records) … 12 inch imports similarly include the nervy twittering Rhythim Is Rhythm ‘It Is What It Is (Majestic Mix)‘ (US Transmat), flipped by two acid newies; sampling, scratching and shouting Black, Rock and Ron ‘Black, Rock and Ron‘ (US Popular); James Brown/Brothers Johnson/Masters At Work/Kraze/etc sampling Only In The Dark ‘Make Noise‘ (US Profile); Criminal Element Orchestra/T La Rock & Jazzy Jay/etc sampling Todd Terry-type Bad Boy Orchestra ‘Hip Hop Salsa‘ (US Smokin’); Gaz ‘Sing Sing’-based rapping Ms. Melodie ‘To Sing All Night‘ (US Jive); Troggs adapting drily rapped Tone-Loc ‘Wild Thing‘ (US Delicious Vinyl), with a better hoarsely sinuous ‘Loc’ed After Dark‘ flip … Reese & Santonio’s old ‘Back To The Beat’ (with ‘The Sound’)’ coupling, the deadpan girl muttered title line repeating (0-)122bpm ‘Rock To The Beat’ thumper has apparently become something of a Belgian disco anthem in a local “new beat” cover version, and so is due to be added to commercial pressings of their current ‘Truth Of Self Evidence’ too … Belgian new beat may be the hot hype at the moment but even so, the Balearic Electra ‘Jibaro’ is being reissued this week in its various mixes … ‘Ford Trax‘ is the title of Baby Ford’s new excellent instrumental B-side — and also of a nine-track 12 inch twin-pack due out next month … K-9 Posse rap group member Vernon Lynch seems to be the brother of Eddie Murphy! … ffrr rather than Supreme Records have picked up the Ultramagnetic MC’s LP, plus Sterling Void’s ‘Runaway Girl’ … Original Concept’s ‘Straight From The Basement Of Kooley High!’ LP is now out here (Def Jam 462978 1), as finally is EPMD’s ‘Strictly Business’ LP (Sleeping Bag Records SBUK LP 1) … Carolyn Martin is opening a New York office and US branch of the Disco Mix Club … Def Jam are launching in the US a new Black Gold label for soul rather than rap releases, switching over to it Oran ‘Juice’ Jones, Tashan, Chuck Stanley and Alyson Williams, and singing veteran group Blue Magic … Jeff Thomas was persuaded to stay full time at Swansea’s Martha’s Vineyard, where he has so radically altered the Mon/Wed-Fri/Saturday night policy to solidly black music that now anyone turning out in conventionally “smart” dress is actually refused admission (there being plenty of other clubs locally all vying for that market) — also, he’s started rap/acid/deep house Sundays at Neath’s brand new First Base American bar and diner … Norman Cook cuts up Worthing’s Sterns this Thursday (17) … Plymouth Sound’s soul presenter Chris Dinnis and Bob Smith hold a rare groove/classic soul/funk/jazz ‘Humdinger 3’ at Boxes on Exeter Quay next Wednesday (23), when Eon Irving starts a weekly garage/funk ‘Inside America’ night at Mayfair’s Prohibition in Hanover Street … ‘Hype House’ every Thursday at Bradford’s The Palace has house/funk/soul/rap/rare groove with the “beats per minute posse”, DJ Cool Cutz, DJ Vibe Alive, Mixmaster Eazy and Master JMP, while Cool Cutz and Eazy also spin acid and hard hip hop on two levels in the Dance Zone at the nearby Jokers every Fri/Saturday … Prestatyn’s mayor came to check out the LiveWire weekender and nobody believed who he was to begin with — he’s a 28-year-old biker! … Tom Astor was amongst the party I took to Prestatyn — he owns South London’s Orinoco Studio, at which Enya recorded ‘Orinoco Flow’ … Keith Sweat (who reputedly cost £30,000 for his Prestatyn show) was so paranoid that when a fan penetrated his bus to say hello, Keith bleated to security “He could have shot me!” — which says more about America than anything else … Pete Tong closed down Saturday night’s music at Prestatyn by playing the Gipsy Kings’ terrific ‘Bamboleo‘, about which I raved when it was first released, and which if reserviced could yet become a Christmas smash … Breakout’s main man Mike Sefton took paternity leave two weeks ago — he’s the proud dad of a baby daughter … Taboo’s ‘No. 6‘, the recently reviewed revamp of TV’s ‘The Prisoner’ theme, turns out to be by none other than Keith West of ‘Excerpt From A Teenage Opera (Grocer Jack)’ fame in 1967 — the first psychedelic era (when indeed the TV series was first shown) … Les Adams and I are again creating Capital Radio’s New Year’s Eve continuous party music tape, running this year from 9pm until 2am … NANU NANU!
PRESTATYN SOUL WEEKEND 4
ADRIAN WEBB has lost count of the total number of weekenders that he has promoted, something like 38, but knows for sure that the Prestatyn Soul Weekend 4 was his 26th soul weekender. No wonder by now he knows how to get all the arrangements right, the most remarkable aspect of the event being the complete lack of trouble. This, despite over 4,000 revellers being present, divided into different musical factions — although, as DJ John E Walker shrewdly observed, the crowd these days is not really that interested in the music. First timers tended to be togged out in “acieed” style, but although a lot of fast house was played the only jock who really catered for them was Paul Oakenfold. Elsewhere, the acid backlash had begun to bite — which rather unsettled the event’s equilibrium. Had it been held even just a month earlier, I am sure that “acieed!” would have dominated.
As things turned out, few of the jocks seemed fully confident about what they ought to play. Robbie Vincent and Chris Hill had their late night ‘Acid Free Zone’, but were not the only ones to structure whole sets around Seventies soul, Ian Reading being one other example, while Gilles Peterson and Chris Bangs typically churned out vintage funk and jazz. There seemed to be much less feedback between the DJs and the crowd than in earlier years, perhaps because, unlike in the past, few DJs could actually claim that any particular segment of it was in fact “their” crowd. The one exception was superstar Tim Westwood, whose hip hop session was perhaps the most crucial of the weekend. Keith Sweat’s live show was rapturously greeted, but the scrappy PAs that followed were often embarrassing (I missed Royal House who appeared in the afternoon). Karyn White and Troop, slick US chart stars, were by far the best.
Chris Hill, still “The Godfather”, as usual presented the grand finale, and reverted to a tried and trusted formula (that hadn’t been tried for several years), declaring “This is tradition, like Stratford On Avon, Buckingham Palace, Westminster Abbey, the last night of the Proms”, as he launched into ‘Ain’t No Stoppin’ Us Now’ and ‘Bring The Family Back’. He then said, “Some people think they invented going ape shit crazy six months ago, well we invented going ape shit crazy 10 years ago” — and played ‘Shout’! I doubt if anyone ended up having a bad time, but in comparison with past weekenders over the last 10 years it didn’t strike me as being memorable. However, for those who want memories of it, a full length colour video of the highlights will be available for £16.99, while tickets for Prestatyn 5 (over Easter, March 24-26) are also now bookable from LiveWire on 01-364 1212. Continue reading “November 19, 1988: Prestatyn Soul Weekend 4, Keith Sweat, Turntable Orchestra, Cherrelle, Marshall Jefferson presents Truth, Royal House”
CLARE SHAVE, having brought renewed credibility to especially 10 Records’ dance product, has left her club promotions post at Virgin to go independent as Pure Beat Promotions, working in tandem with Jimmy O’Rheilley’s management company Pure Music at 32 Wardour Street, London W1V 3HJ (01-287 2072) – where she’s still reassembling her missing Filofax ‘phone numbers … Rob Manley meanwhile is leaving Breakout at the end of next week to take over at Virgin as of December 5 (things moved rather faster than anticipated once Clare had made her feelings known, Siren/10 Records wanting to keep an in-house promotion department instead of retaining an independent) … Rob Base & DJ E-Z Rock’s ‘It Takes Two’ album is now indeed out here on Supreme Records (SU 4), who are also rush releasing the Ultramagnetic MC’s album reviewed on import only last week … Gee St Recordings’ UK version of the Jungle Brothers’ ‘Straight Out The Jungle’ (GEEA001) adds to the album’s originally reviewed tracks the Richie Rich reconstructed ‘I’ll House You’ hit, plus, with the first 5,000, a bonus 12 inch containing a ‘Because I Got It Like That’ (and thus also Sly Stone) based 0-108-107⅚bpm Ultimatum’s Ultramix, flipped by its chuggingly drummed 107⅚bpm Jungle Beats and brief Jungle Bass … SLF’s album will contain an extended club mix of the excellent ‘Show Me What You’ve Got’ vocal version … Tim Jeffery’s Cool Cuts chart was a little bit too upfront last week, Republic Records not even having cut their Turntable Orch/Kym Mazelle and Younger Generation pressings (the latter in fact won’t be about for ages)! … Timeless Records are including club jocks in their mailing list now, contact Miss Rakha Desai for an application form on 01-961 3889 … Fred Dove, Jane Evans, Les Adams, Emma Freilich and myself all turned up with invitations to the grand opening last week of Milton Keynes’ refurbished The Club at The Point only to find all the outside doors locked – after ages, a jobsworth did come and open a door but then wouldn’t let us in as, guess what, the doors close at midnight (and this, after 20 minutes of freezing outside, was at half a minute actually before midnight!) … I was not initially very impressed once we did get in, first impression of The Club being a glass box with flashing lights and dreadful distorted sound (the latter remained true), but on closer examination, particularly when the lights came on at the end of the night, it proved to be rather more attractive, and the mirrored tower over the dancefloor up which the lights operate is quite impressive … Pat Sharp, who was almost forcibly stripped after getting a girl to flash her boobs for a T-shirt, had been the evening’s star MC, Rob Manley, Mike Allin, and Joe Field being the jocks until Les Adams (who starts a Saturday slot there as a result) joined Joe for a double handed mixing session … Stock Aitken Waterman apparently have produced an acid house treatment of Beethoven’s Fifth Symphony, by none other than the Royal Philharmonic Orchestra — will ‘Top Of The Pops’, ban that? … ‘TOTP’, to be consistent, will presumably also ban all mention of “ecstasy” and — one they may not yet be aware of — “fantasia”? … Fantasia appears to have a more sinister drug-related meaning than being just the name of a club, despite the televised protestations of certain DJs involved that there’s no link between drugs and the music (honest, guv’nor) … TV-am last Thursday featured America’s most widely networked radio talk show host, English born Michael Jackson (no relation) — back in 1980, Robbie Vincent and I visited him at his KABC base in Los Angeles, where even then his show beat all the music stations in the ratings … London’s Evening Standard described the Prince and Princess of Wales as “jiving energetically to ‘Choo Choo Train Driving’ by the Pasadenas” — shurely shome mishtake? … Eon Irving points out that the “I tell you I can’t relax, you know” quote in The Real Roxanne’s ‘Respect’ is by American cult comedian Rodney Dangerfield … Norman Cook and Streets Ahead were cockahoop at Brighton’s Downbeat last Wednesday when Run-DMC and Jam Master Jay jammed on the mic, with Derek B and Public Enemy in the house too … Nicky Holloway, Pete Tong, Rocky & Diesel start Deep in Uxbridge at Regals this Tuesday (8), playing deep house, garage, new beat and Balearic, but no acieed … Sheikh Jnr every Wednesday (9-11pm) at the free admission Blue Notes in Wantage’s The Swan, and in a one off this Friday (11) at Newbury College, says it’s “dress tuff, music likewise” … Graeme Park currently hosts ‘Steamer’ Wednesdays at Sheffield’s Leadmill, ‘Phreek’ Thursdays and ‘Phreek 2’ Saturdays at Nottingham’s Kool Kat (ex-The Garage), and joins Mike Pickering on Fridays at Manchester’s Hacienda, playing hip hop and early electro as well as house … Steve Roberts (Putney Mr Micawbers), in a chart that’s otherwise acid, deep house and soul, has revived Yazoo’s ‘Don’t Go’ — it had to happen! … Radio Sheffield’s dance master Holcott Foster and Radio Manchester’s living soul legend Mike Shaft have started Saturdays together at Huddersfield’s PleasureDome, where Holcott alone handles seriously acidic Fridays … John Matthews at Wealdstone’s Tudors on Thursdays has absolutely no acid, just soul/funk/jazz … Alexander O’Neal’s new US album is a Jam & Lewis produced (and partly penned) Christmas set called ‘My Gift To You’!… John Dunn rather than Bill Grainger now manages Kelly Marie … Record Mirror’s legendary Norman Jopling was never “Normal”… NANU NANU
HOT VINYL
THE TODD TERRY PROJECT ‘To The Batmobile, Let’s Go’ (Sleeping Bag Records SBUKLP 002)
Not due for UK release until November 21, this eagerly awaited album doesn’t have so much that’s new and essential as nearly half the tracks are already known, the giggly jumping (0-)124bpm ‘Bango‘, Class Action girls wailed (0-)123-0bpm ‘Weekend‘, Third World underpinned 121⅔-122-0bpm ‘Just Wanna Dance‘, and excitingly nervy scratching and leaping 121-0bpm ‘Back To The Beat‘. However, the brand new ‘Batman’ effects introed acidically sizzled typical jittery leaping instrumental (0-)121-0bpm ‘The Circus’ is certainly hot, other fresh cuts being the tensely jittering 118-0bpm ‘It’s Just Inhuman‘, “you bad”-repeating jiggly tugging hip hop-ish 0-103⅔-0bpm ‘You’re The One‘, funky drummered rambling scratched and rapped 102⅓-0bpm ‘Made By The Man‘, and attractive but odd atmospherically doodling 0-87-0-87-0bpm ‘Sense‘.
KID ‘N’ PLAY ‘2 Hype’ (US Select Records SEL 21628)
Producer Hurby Luv Bug ransacks the Sixties and early Seventies for funk riffs to back this strong rap set, with the “oh la, oh la” chanting infectious go-go 0-103bpm ‘Rollin’ With Kid ‘N Play’, ‘Funky Broadway’, based 105bpm ‘Brother Man Get Hip‘, Sam & Dave bass-lined 0-113-0bpm ‘Soul Man‘, James Brown based (and grunted) 0-111⅓bpm ‘Do The Kid ‘N Play Kick Step‘, sorta ‘Walk On The Wild Side’/’Thank You (Falletinme Be Mice Elf Agin)’ combining (0-)111-0bpm ‘Can You Dig That‘, ‘Uptight’ based 0-134½-0bpm title track, fast talking jittery 115-0bpm ‘Damn That DJ (The Wizard M.E.)‘, The Real Roxanne-duetted swaying 0-93½-0bpm ‘Undercover‘, previously released 105bpm ‘Gittin’ Funky’, 99bpm ‘Last Night’, 115bpm ‘Do This My Way’.
THE REAL ROXANNE ‘The Real Roxanne’ (US Select Records SEL 21627)
Rapping “Roxanne” Martinez gets soft on some slowies which add to this good album’s variety, but stays tougher than ever on the furiously fierce, Public Enemy “boyee” and Royal House/Jacksons “can you feel it” shouted, ‘Shaft’ wukka-wukked 114¼bpm ‘Don’t Even Feel It’ (this set’s ‘Get On The Dance Floor’), catchy Dixie Cups/Shirelles flavoured jiggly singalong 106bpm ‘Luv Scandal‘, tensely jittering vaguely Jackson 5-ish 92bpm ‘Look But Don’t Touch‘, huskily talked/sung and “la la”-ed (off a crackly old record) (0-)97-0bpm ‘Early Early (La La)‘, soulful piano chorded attractive swaying 80⅓bpm ‘Infactuated‘, plaintively sung Tiffany-ish (0-)76⅓-0bpm ‘Oh Darlin’ (Like We Used To)‘, JB-based jaunty old 114½bpm ‘Roxanne’s On A Roll‘, current Aretha reviving 112-0bpm ‘Respect’ and ‘Pick Up The Pieces’ backed 0- 104½bpm ‘Her Bad Self’. Continue reading “November 12, 1988: The Todd Terry Project, Kid ‘N’ Play, The Real Roxanne, OMD, George Benson”
George Benson has added an extra date this weekend at Wembley, and so won’t be a surprise visitor to North Wales (where I’m sorry to hear that Prestatyn will be a firework free zone) … Supreme Records picked up the Rob Base & DJ E-Z Rock album here, from which ‘Get On The Dance Floor’ will inevitably be their first single but not until January … DJ Bob Masters incidentally has just joined the label as dance music product and club promotion manager … Westside Records now have exclusive UK rights to Chicago’s Trax Records product, the long term deal covering all back catalogue and future releases … Motown, newly reinvigorated following their purchase by MCA Records, have signed the Pointer Sisters and Leon Sylvers, amongst others … Sharon Davis has written a weighty ‘Motown – The History’ (Guinness Books, £14.95) which covers the legendary record company’s entire existence, perhaps a little bit too thoroughly during the most recent era with which she herself has had her closest involvement, Gordon Frewin supplying an exhaustive looking discography which will doubtless prove most useful (and throw up some surprises?) … ‘The Hit Factory Vol 2’ (Fanfare/PWL Records HF4), continuing the compilation of “the best of Stock Aitken Waterman”, already includes their only just US released SOS Band/Princess-style 100bpm ‘Tell Him I Called’ by Miami girl duo Sequal … Bananarama’s ‘Greatest Hits Collection’ album is being promoted by a probably quite useful 0-120½…126bpm ‘Bananarama Megamix’ of their biggest hits on special limited edition “not for resale” promo (ffrr MEGA 5) … Timerider’s typically European (0-)119⅓bpm thudding electro instrumental ‘Cocoon’ (Lisson Records DOLEQ 8) has, as previously warned, been reissued from last year now that it’s used both as the theme tune to TV’s ‘The Hitman And Her’ and in ‘The Fruit Machine’ film (from Germany’s XYZ Records, and apparently 1985, it is not a PWL creation) … Kym Mazelle’s import pressing of ‘Useless’ (US EMI-Syncopate V-15406) contains all the Marshall Jefferson and Clivilles & Cole mixes on one piece of vinyl, making better value than the split UK release … Vesta Williams’ ‘Vesta 4 U’ LP is now out here (Breakout AMA 5223) … Neneh Cherry ‘Buffalo Stance’, reviewed last week off an uninformative promo pressing, turns out to be produced by Tim Simenon … I had forgotten that Rickster ‘Night Moves’ was in fact American, on US Vinyl Pak back around January … Children Of The Night ‘It’s A Trip’ is wrongly labelled, the Killer Instrumental Mix properly being Mike ‘Hitman’ Wilson’s Psychedelic Remix … I can’t say I’m looking forward to BPM-ing Ten City’s upcoming album, which producer Marshall Jefferson confesses uses live drums (by Philly veteran Earl Young) and will “mess up a lot of DJs”! … Stetsasonic’s follow-up, advisedly for the pop market, will be their album’s revival of the Floaters’ ‘Float On’ … Derek B appears to be having trouble coming up with a crucial enough mix of his long delayed next single, ‘Who Dares Wins’ … Roger Tovell is now head of music at Severn Sound, where the new librarian/producer Jerry Hipkiss’s 6-9pm ‘Saturday Soul’ show plays soulful dance music and deep house, refusing to revive the flagging careers of failed pop musicians/computer programmers who’ve jumped on the nearest passing bandwagon (we know just who he means!) … I fear that Capital Radio’s clever rescheduling of their Saturday night black music programmes, with Pete Tong starting his chart rundown at 7.30pm, followed by Tim Westwood at 8pm, must be keeping many people tuned who might otherwise have switched over to Radio 1 for the inestimable Robbie Vincent soul show – Robbie, by the way, had over 5,000 callers to the “information line” he plugged on Radio London prior to moving to LBC! … Greater London Radio, as Radio London has now become, isn’t anything like as good with presenters as it was during its continuously segued test transmissions, which seemed to attract more listeners than ever while they were running! … Stuart Coleman’s excellent Sunday ‘Echoes’ oldies programme sadly has not carried over to GLR (maybe LBC could give him a slot?), one of his last guest interviewees being Record Mirror’s legendary 1960s journalist Norman Jopling – who has recently resurfaced, writing the liner notes for a scrappy Ike & Tina Turner compilation on Start, and promoting the new 12 Inch Grooves series of “collectable club favourites” that Old Gold Records have just started, the first CBS originated batch including back-to-back Marlena Shaw ‘Yuma/Go Away Little Boy’/Starship Orchestra ‘New York, New York’, Ned Doheny ‘To Prove My Love’/Hawk & Co ‘Nite-Life’, Eddie Murphy ‘Boogie In Your Butt’/’Party All The Time’ and others by Melba Moore, Bobby Glover, Jimmy Messina, Kenny Loggins, The Futures, Dee Dee Sharpe Gamble … Stylus Records seem likely to get a puzzled reaction to their TV advertised ‘The Rare Groove Mix’ album, a follow-up to their successful ‘60s Mix’ series, which for some misguided reason they didn’t think would sound so commercial if titles ‘70s Mix’ – far from “rare groove”, the totally pop contents contain such real rarities as Dawn ‘Knock Three Times’, Mud ‘Tiger Feet’, and Derek & The Dominos ‘Layla’! … Finesse Conditioner’s telly commercial use of Irma Thomas’s ‘Time Is On My Side’ reminds me that at the same time in 1964 that I sent Bessie Banks’ ‘Go Now’ over from New York as material for the Moody Blues, I also sent Irma’s record, which London based Denny Cordell then passed on to the Rolling Stones, whose cover version became their very first US hit! … I can recommend for any hungry Prestatyn visitors this weekend to try at lunchtime the eat as much as you like for around £6, help yourself starters, main courses and puds at the Dinorben Arms in Bodfari, a picturesquely sited hilltop village about 10 miles due south of Prestatyn down the western slopes of the Clwydian Range – leave the camp as if for London, first right (after the railway bridge and sharp bend) on the A547 towards Rhuddlan, once you’ve got into the countryside turn left in a dip (soon after passing the dramatically big hill) to go through Dyserth, and then head straight (with just one right hand fork as you leave the houses) along a country road through Rhualtt and Tremeirchion to Bodfari, where the pub is impossible to miss as it dominates the village (the food may be more “gourmand” than “gourmet”, but I promise you won’t regret the outing) … I myself, if you’re all there, will be further down the Vale Of Clwyd at the even better Cerrigllwydion Arms in Llanynys, my “local” when in North Wales – and if you feel bold enough to find that, you’ll have to buy a map! … Gilles Peterson and Rob Galliano join Hugh Bryder to “acid jazz” Liverpool’s Mardi Gras Club on Thursday (3) … Saturday (5) finds Kid ‘N’ Play, Salt-n-Pepa, MC Duke and the Fly Girls at the Brixton Academy, while Ray Keith, Guy Palmer, Dave Malone and Turbo bring acid, deep house and def beats to Colchester’s The Venue … Jeff Thomas is joined at Swansea Martha’s Vineyard by Royal House on Monday (7), and James ‘D Train’ Williams the following week … Nigel Hill, after five years mobile, is now resident six night a week at Weston-Super-Mare’s Mr B’s, where he starts an acid house night next Wednesday (9) with guests the Moody Boys and This Ain’t Chicago, plus Baby Ford the following week … Dave Evans has also jumped on the bandwagon, with acid Mondays at Stockport Hamiltons … Norman Cook sends greetings from Brighton to point out that it was of course he who created the “illegal mix” of the Osmonds’ ‘One Bad Apple’ (something not made apparent by its plain white label), and that he’s now jocking at Downbeat with Streets Ahead on Wednesdays and Jacky on Saturdays … Barry Island’s veteran (though not that old) jock, Steve Wiggins would welcome a change of South Wales scenery if anyone in clubland is interested (on 0446-733196, office hours) – he offers upfront soul, reggae, pop, golden oldies, party sets, even fruit from his shop! … Dee Dee Wilde supports Will Downing on his UK visit later this month, at Manchester’s Apollo (19) and London’s Hammersmith Odeon (20/21) … Castle Beat ‘I Shot The Sheriff/Deputy Of Love (Medley)’ finally appeared in someone’s chart, at number one for Danny Rampling of London’s legendary Shoom, no less … DJ Trix has at number one in his Birkenhead Bassment chart, “DJ Trix Live On Stage’ – like it! … Glyn Prince at Swindon’s Brunel Rooms Ampitheatre combines The Mafia ‘ABC’ and Osmonds ‘One Bad Apple (Illegal Mix)’ in a megamix … Mark Devlin (Witney) tips that the original mix of Bam Bam ‘Give It To Me’ synchs perfectly with the Patrick Cowley remix of Donna Summer ‘I Feel Love’ (which was due to be reissued but now appears to have been put on hold) … Mike Shawe (2 Marlwood Drive, Brentry, Bristol BS10 6SJ) offers any price for a copy of Blare ‘Nightlife’ … NANU NANU!
‘NEW BEAT’
The gadfly of dance music fashion has darted on, just as you thought “acieed!” was where it’s at. Those same pace-setting London jocks who launched the still locally limited “Balearic beat” trend, but who ironically ended up better publicised for the “acieed!” orientation of their gigs, have dropped acid like a hot brick now that it has crossed over commercially (naturally, they cite a variety of other justifications!) and instead are latching on to the Balearic related Belgian variant of electro Europop known as “new beat” (about which I mentioned several weeks ago, although it became garbled in the printing, that the previously reviewed Amnesia ‘Ibiza‘ is a prime example). Already, dedicated fashion victims are following their lead and snapping up copies of a domestically distributed Belgian compilation album, A.B.-SOUNDS ‘New Beat — Take 1‘ (Subway Records SUB 034, via Rough Trade), even though it merely sounds like the experimental electro tinkerings of Blancmange, Yazoo and other similar British “new romantics” of the early Eighties, but without such strong songs. Its biggest tracks, which are indeed OK, include the tinkling, twittering and muttering densely chugging 0-112bpm A SPLIT SECOND ‘Flesh‘, “taste of sugar” and “do you wanna suck my (bleep)?” punctuated James Brown-cutting 0-114bpm TASTE OF SUGAR ‘Hmm, Hmm‘, and to an extent the imperatively muttered and girls entreated martial chugging 108⅔-00bpm EROTIC DISSIDENTS ‘Move Your Ass‘, the rest being the dialogue overlaid nervily jittering deceptively slower sounding 0-120bpm S.M. ‘S.M.‘, “hey Mister Dee Jay” chanted jauntily synthed rolling 112bpm ELECTRIC SHOCK ‘Don’t Talk About Sex‘, Oriental flavoured ploddingly attractive jogging 98½bpm JADE 4 U ‘Rainbows (Instrumental)‘, “Chinese” girls chatted trotting 112bpm SECRETS OF CHINA ‘Chinese Ways‘, Tibetan flavoured jiggling 108bpm SHAKTI ‘The Awakening‘, gruff “dance” prodded drily electronic lurching 108⅙bpm BEAT BEAT BEAT ‘Beat In The Street‘, droningly undertowed simplistic Euro-rapped 0-110⅓bpm DIRTY HARRY ‘D’Bop‘, sometimes old “electro”-style instrumental 0-113-0bpm IN-D ‘Virgins In-D Sky’s‘ and monotonous depressing dense 110⅓-0bpm SNOWY RED ‘Euroshima-Wardance‘. I can’t say they do anything for me, much. From the some Belgian Antler Records source and selling on 12 inch for several weeks now, MAJOR PROBLEM ‘Acid Queen (Dirty Version)‘ (KAOS dance records KAOS 003) is a kinky “show me your pussy”/”get down on your hands and knees” muttering and groaning purposefully lurching 113bpm twittery heavy thudder (fully instrumental flip), while getting “new beat” attention also has been LAIBACH ‘Sympathy For The Devil’ (Neue Slowenische Kunst/Mute 1MUTE80T), the Rolling Stones tune being most recognisable in the AA-side’s frequency fluttering juddery (0-)117⅔-0bpm electro treatment with sampled stuttery Jagger chatter, the A-side being a resonant throbbing and chugging 123bpm instrumental that doesn’t seem particularly related (it’s hard to know from blank white labels, there also being a more recent and properly printed but confusingly labelled remix three-tracker).
The above are only a few examples, there being a lot of good material according to Nicky Holloway, just back from trawling through record shops in Belgium, who incidentally points out that nobody actually sat on the floor at Rockley Sands as only about half a dozen acid trax were played there over the entire weekend, the Balearic groove having already moved on to new beat (in combination with other stuff) by then! Nicky is in fact returning to London’s Astoria this Saturday (November the Fifth), leaving Prestatyn early, to start a weekly Made On Earth night in the new non-acidic style (absolutely NO Smiley T-shirts admitted), with guest jocks Mark Moore and Trevor Fung this first night after which Pete Tong will be his regular partner. Meanwhile, Paul Oakenfold’s Monday night at Heaven has already changed its name to Spectrum Presents Fantasia, with a similar acid-free policy of new beat, garage and deep house. Could it be that “Belgique, Belgique!” (as in, “Bel-jeek, Bel-jeek!”) will become the new “acieed!” chant? Inevitably, Pete Tong is ensuring that London/ffrr are in on the new trend at the beginning, the series-continuing ‘Balearic Beats Vol 2 — New Beat’ album already being in the pipeline, as basically the above reviewed Belgian compilation with its more duff tracks substituted by better. I can already anticipate the first Hercule Poirot Remix…
HOT VINYL
THE PARTY BOY ‘The Twilight Zone (Remix)’ (Urban Acid URBX 27)
Chris ‘Bam Bam’ Westbrook recorded here for the ‘Urban Acid’ album (its best track) and subsequently remixed this mystically muttered, child giggled, synth bubbled and twittered 123bpm sparse simple acid treatment of the TV theme, a real mood piece for trance dancing (alternative 123bpm B-side mix more like — but not — the album version).
ERIC B & RAKIM ‘Microphone Fiend (Remix)’ (MCA Records MCAT 1300)
Also separately promoed with its own instrumental and seven inch version as flip but commercially available like this, the US choice of follow-up is this DJ Mark-The 45 King (rather than Red Alert) remixed wordy slow rumbling 93½bpm murkily churning jogger with bursts of jingle bells and a fiercely scratched finish, AA-sided by the more UK compatible fast talking jittery ‘Put Your Hands Together’ in the already separately promed (0-)111-0bpm Fon Force Mix, overlaid by resonant synth tones, and (the decisive winner on promo in The Club Chart) Graeme Park’s (0-)112bpm Parkside Mix, with Humphrey Bogart “play it!” intro and overlaid “acieed” sirens nagging away.
LIVEWIRE PROMOTIONS’ Prestatyn weekender on November 4/5/6 will be the busiest yet with over 4,000 booked in already (it’s doubtful but there may be last minute room left on 01-364 1212, no day passes being available so don’t turn up on spec at the gate), the big live attraction of Keith Sweat being supplemented by the James Taylor Quartet plus PAs by Karyn White, Kym MazeIle, d. mob, Adrenalin MOD, Electra, Jazz & The Brothers Grimm, Heaven & Earth, Troop, Reid, while Tim Westwood’s Saturday night rap special will feature the Ruthless Rap Assassins, plus hopefully Salt-n-Pepa and Kid ‘N’ Play … 4am is the new closedown time on both nights … Chris Hill and Robbie Vincent running a soul room to counter the inevitable acid overkill elsewhere – however, care is being taken to ensure that not every room is playing the same music (Kev Hill has declared himself an acid free zone!) … Bobby Brown and Cherrelle are already being mooted as the possible stars at the next Easter Prestatyn, while this one might just be graced by the surprise appearance of singing twanger surnamed Benson (but I didn’t tell you that, OK?)! … Stock Aitken Waterman and Bananarama, or their “pop dance” equivalents, will be collecting awards in a separate ceremony to the “black dance” acts at the 1989 International DJ Convention, thus preventing any ugly clash as occurred this year, the Disco Mix Club organised event taking place in London next March with an opening party and pop awards on Sunday 12th at the Hippodrome, all day seminar and World Mixing eliminations on Monday 13th at Leicester Square’s Empire, and Technics World DJ Mixing finals and black awards on Tuesday 14th at the Royal Albert Hall … Virgin seem to have snapped up the Ronald Burrell created Bäs Noir import hit, presumably to keep everything in the family … Phase II ‘Reachin’’ has been temporarily deleted to build up sales demand to help it cross over when put back in the shops … Republic Records are releasing here the months old but still much played Turntable Orchestra ‘You’re Gonna Miss Me‘, from US Music Village Records, out separately although promoed back-to-back with Kym Mazelle ‘I’m A Lover‘, one of Marshall Jefferson’s earlier productions by her on Lower Level Records … Robert Clivilles & David Cole may have signed to Breakout as The Brat Pack for ‘Do It Properly Part II‘, but they’ve also signed to Syncopate under the old name of 2 Puerto Ricans A Blackman And A Dominican! … Damon Rochefort is behind the controversial Mr E ‘Don’t Believe The Hype‘, so far only one solitary acetate which shuttles between Jeff Young and Pete Tong for radio play, being an acid track that samples Sir Alistair Burnett and the recent ITN ‘News At Ten’ report on acid house … Les Adams is remixing Maurice Joshua ‘This Is Acid’ … MCA Records have serviced a 33⅓rpm five track promo of the buoyant trotting 116bpm Mac Band featuring The McCampbell Brothers ‘Jealous (Remix)‘, ahead of November 14 release here — the label has also launched a ‘Sunset Sound of L.A.’ album series, compiling recent UK and US issued singles (regardless of whether recorded in Los Angeles) which readers of this column will know … Ben Liebrand’s Summer ’88 Remix of the Four Seasons featuring Frankie Valli ‘Oh What A Night (December, 1963)’ turns out here as in Holland to be on br. music (1245277, via Prism Leisure Corporation) … Jive have added the She Rockers to a roster that already includes the Wee Papa Girl Rappers … Sleeping Bag Records’ UK launch party was definitely the hottest ticket in town last week (in fact to get in you had to wear a special T-shirt!), everyone being there to make it a pleasant social occasion, but as a music showcase it never took off (although people appreciated the house and rap sets spun by Graeme Park and Tim Westwood) … Dance Aid has finally been given full charitable status by the Charity Commissioners … Westside Records owners Jacqueline and Morgan Khan are the proud parents of two month old Fallon Jasmine Khan, while Breakout’s label manager Mike Sefton is anticipating imminent fatherhood too … Harrow’s Jon Jules had his £1,100 mobile yuppie ‘phone stolen out of his bag while travelling on the tube, and had to fork out for another one, all on top of moving house and finding the ceiling leaks … Virgin’s club plugger Clare Shave had all her belongings swiped at the Rockley Sands weekender, including all her personal telephone contact numbers, and would appreciate being reinformed about people’s private numbers (the sort that wouldn’t be on official file) … I hear that everyone sat on the floor at Rockley Sands when Nicky Holloway started to play acid house — so thankfully the backlash against the commercialisation of “acieed” has begun, just as happens whenever any sort of underground music crosses over — and also that Gary Haisman of d. mob apparently had something against his allocated caravan! … Top Shop has just banned the sale of “Smiley” T-shirts … Pete Haigh (Blackpool), boosting garage and street soul, observes that he saw drugs ruin the northern soul scene in 1974-6, and the backlash then became jazz/funk! … Jeff Thomas’s Mondays at Martha’s Vineyard remain unchanged while as of the opening night this Thursday (27), he crosses the road in Swansea to join Peter Helyer on Thurs/Fri/Saturdays at the newly refurbished Ritzy (formerly Mayfair) … Liverpool “urban funk band” Raw Unlimited play with DJ Desa this Thursday (27) at the Bassment, inside the Comet car park behind Hamilton Square station in Birkenhead — in which town on Monday (31) The Defhouse Twenty Four is at Atmosphere with Desa, Kenni James, Dave Ralph and PAs by Projection, Children Of The Night, Hit & Run … Eartha Kitt is a delighted Norman Scott’s special Hallowe’en guest on Monday (31) at London’s Bang … Steven Danté’s progress in The Club Chart with ‘Imagination’, as of last week, had the neat symmetry: 77 – 38 -30 – 38 – 77 … NANU NANU!
TODD TERRY (pictured here for the first time in rm) got behind the decks at the Wag during Sleeping Bag Records’ UK launch party last week, and mixed up all his hot floor filling productions. It would be nice to say that the result was an event to remember, but in truth, and sadly, it was about as interesting and exciting as hearing any DJ in any club anywhere mixing the same records (which, let’s face it, you are likely to encounter everywhere right now).
Les Adams dropped to one knee bearing a bunch of red roses at his L.A. Mix partner Emma Freilich’s 21st birthday, and said, “I haven’t got you a present, so instead, will you marry me?” Shocked and delighted, Emma luckily answered “Yes!” All together now, “ahh…”
HOT VINYL
THE TODD TERRY PROJECT ‘Weekend (Club Version)’ (Sleeping Bag Records UK SBUK 1T, via The Cartel)
The hottest import for a while is due out here next week, this Class Action girls sampling (0-)122⅔-122¾-122⅔-122¾-0bpm jerkily jumping canterer having proved bigger than the now B-sided Third World ‘Now That We Found Love’ pulsed and other samples zapped jittery leaping instrumental 121⅓-121⅔-0bpm ‘Just Wanna Dance (Club Version)‘ (Radio Versions too).
CHILDREN OF THE NIGHT ‘It’s A Trip (Tune In, Turn On, Drop Out)’ (Jive JIVE T 189)
Kool Kat recorded very calculatedly commercial frantic twittering and jittering acid bubbler from Manchester, borrowing d. mob’s “acieed!” chant and the Fini Tribe’s ‘De Testimony’ chimes, in 127bpm Hacienda and Instrumental Mixes, 0-126bpm Killer Instrumental Mix, likely to do well in the current crossover climate without winning any marks for originality.
BIG DADDY KANE ‘Set It Off (Extended Mix)’ (Cold Chillin’ W76761)
Finally out commercially, this Marley Marl produced/remixed excitingly churning drums throbbed (0-)116¼bpm new wave rap swirler has a naggingly repeated piercing tinny guitar noise that’s even more brain chewing than Public Enemy’s noises (fast talking 0-118⅔bpm LP version too, and tricky fatback funk drummed dubwise 98½-0bpm Bobby Byrd-cutting ‘Get Into It‘). Continue reading “October 29, 1988: The Todd Terry Project, Children Of The Night, Big Daddy Kane, The Real Roxanne, Young M.C.”
Todd Terry, Just-Ice, KRS-One and Cash Money join DJs Tim Westwood, Colin Faver, Danny Rampling, Kid Batchelor and Mixmaster Tee tonight (Tuesday 18th) at London’s Wag for the UK launch of Sleeping Bag Records, operating here out of Mervyn Anthony’s front room (on 01-637 5277) as an independent label distributed by Rough Trade – so the Todd Terry Project won’t be on Westside Records after all! … The Real Roxanne ‘Respect’/’Her Bad Self’, reviewed last week on import, has already been rushed here on promo by Cooltempo (COOLX 176), both sides being ½bpm slower … ffrr snapped up Marshall Jefferson presents Truth ‘Open Our Eyes’ … I had to rush a couple of last week’s import reviews (to get any in at all, whereas this week there isn’t room for all that I’ve done!), and on closer examination only the X Rated Movie mix of Jamie Principle is 118¾-0bpm, the other three being 118⅔bpm, while only the A-side mixes of MC Bam Bam are 111⅓bpm, his B-side’s being 111⅔bpm, and the R&B Club Versions of Back To Back are 109⅚-0bpm (niggling inaccuracies maybe, but my reputation is at stake) … Tricky Dicky Scanes’ Balearic top 10 sales chart (third time lucky?) omitted the numbers, 7 Amnesia ‘Ibiza’ (Belgian InDisc), 8 Hong Kong Syndikat ‘Too Much’ (E&F Records) … The Mafia’s ‘The Scene Of The Crime’ megamix is underpinned by Maze’s ‘Twilight’, with repeated bursts of The Incredible Mr Freeze’s “I wanna go back, back to the scene of the crime”, before a ‘Joy And Pain’ finale – OK? … Steady B’s promo pressing was mis-labelled, the B-side vocal Extended Remix being 104bpm and Instrumental 103⅚bpm … Jellybean Johnson, not John ‘Jellybean’ Benitez, is the confusingly credited guitarist on Pia Zadora’s ‘Dance Out Of My Head’ … Jellybean Benitez’s previously unavailable percussively lurching 116½-0bpm remix of ‘Love Will Save The Day’ has now been added to 12 inch copies of Whitney Houston’s ‘One Moment In Time’ … Hazell Dean’s seven inch version of ‘Turn It Into Love’ is now on 12 inch flipped by Les Adams’ 0-115…133bpm ‘Megamix’ of her past hits (EMI 12EMX71) … Graeme Park turns out to have produced the Rose Windross vocal version seven inch of Adrenalin MOD ‘O-O-O’ (re-edited by someone else with his dub version to make the new 12 inch), plus he’ll produce the follow-up … Original Concept ‘Charlie Sez’ and Ice-T ‘Grand Larceny’ both sample Coldcut’s ‘That Greedy Beat’ (but didn’t that in turn have something to do with ‘Get On The Good Foot’?) … Ben Liebrand’s 1988 remix of the Four Seasons featuring Frankie Valli ‘Oh What A Night (December 1963)’, reviewed some time ago on import, seems now to be out here on a label called Prism Leisure Corporation … GLR (Greater London Radio), as BBC Radio London is in the process of becoming, will not be completely soulless after all, Dave Pearce being retained for a Monday-Thursday 7-10pm dance music show and a Sunday 8-10bpm rap slot … Radio 1 DJ Bruno Brookes is another who seems to think the current craze is “acid rock”! … Dancin’ Danny D on TV – yippee! (or, acieed!) … NANU NANU!
HOT VINYL
KYM MAZELLE ‘Useless (I Don’t Need You Now)’ (Syncopate 12 SYDJ 18)
Perhaps the culmination of all his house and soul fusing production work with the likes of Ten City, this Marshall Jefferson created glorious wailing and nagging canterer has been previewed on promo as a lavishly gatefolded twin-pack, the two singles being released to the public separately in consecutive weeks, first out being Marshall’s own The Windy City Mixes (Syncopate 12SY 18) in piano churned bouncy 118⅔bpm 12” Mix, vocally doodling 118⅔bpm Ad Lib Dub, and less resonant 118⅚bpm Deep House mix versions, much weightier and more densely textured than Clivilles & Cole’s alternative The Big Apple Mixes (Syncopate 12YX 18), in lightly rambling 120-0bpm Fierce Club, jittery electronic 120½bpm Dub, and better ‘Set It Off/Twilight’-type bubbled really wailing 120⅓bpm After Hours Club versions (the promo adds radio mixes and an acappella too). Above all, let’s not forget the superb gutsy vocal performance of Kym, who gives all she’s got even when just vamping the title line over and over.
BÄS NOIR ‘My Love Is Magic (Club Mix)’ (US nugroove NG 003)
Ronnie Burrell (of the Burrell twins) created terrific piano pattered and wailing girls gurgled see-sawing 123-0bpm percussive bumpy bounder, maybe more garage or even Latin than strictly house in approach but very exciting, and all without a trace of acieed (dub/edit flip). Get right on one, chummy!
DE LA SOUL ‘Jenifa (Taught Me)’ (US Tommy Boy TB 917)
“This song does not contain explicit lyrics but the thought is erotic, oh baby!” preambled, nervily jittering and swirling but quite casually spoken (0-)119-0bpm exciting “new wave” psychedelic rap, another fresh direction as was ‘Follow The Leader’, coupled in an agreeably freaky package by the lazily chatting and — would you believe? — yodelling 0-93-0bpm ‘Potholes In My Lawn‘ (instrumentals too). Forget acieed, “This is the daisy age”! Continue reading “October 22, 1988: Kym Mazelle, Bäs Noir, De La Soul, 3D, Dee Dee Wilde”
Champion Records, at my suggestion, could be issuing all their previously released Todd Terry productions as both a “best of” cassette and boxed 12 inch set – the label has also beaten off the rest of the pack to pick up Sugar Bear ‘Don’t Scandalize Mine’ … Royal House will be touring here early next month … Tricky Dicky Scanes’ Balearic Top 10 sales chart last week omitted two numbers, 7 Amnesia, incidentally, qualifies in Belgium itself as “New Beat”, an example of that country’s current new music scene, another upcoming one to look for apparently being The Maxx ‘Cocaine’ … William Pitt ‘City Lights’, on closer examination of the currently reissued UK pressing, turns out to be 103⅓-103⅔bpm and its instrumental 103⅙-104⅓bpm – with, coincidentally (or not?), a huskily muttered atmosphere that now sounds remarkably similar to the obviously more recent Robbie Robertson hit, ‘Somewhere Down The Crazy River’ … Polydor’s commercial release of the Osmonds’ ‘One Bad Apple’ is, you must realise, only the original version, not the white labelled “illegal” megamix that was recently reviewed … Phil Harding & Ian Curnow have followed their old and new Four Tops remixes by doing the same for Diana Ross, their current ‘Mr Lee’ mix being rivalled soon by a remix of ‘Love Hangover’ on Motown … Shep Pettibone has remixed George Benson’s ‘Twice The Love’ album title track … I must apologise to UK record companies that so few of their releases have been reviewed, the trouble is they are putting out too darned many at the moment (I haven’t had time to review eight import singles that I actually bought, either), and my having a humdinger of a cold for over a week hasn’t helped – however, just count up all the individual BPMs that are in this issue and you’ll see that, at an average four minutes for each one, my time has been full … US albums I haven’t had time to review include Vesta Williams ‘Vesta 4 U’ (A&M), Cheryl Pepsii Riley ‘Me Myself And I’ (Columbia), Midnight Star ‘Midnight Star’ (Solar), Kenny G ‘Silhouette’ (Arista) – check The Club Chart as always for BPMs … while US albums that were reviewed in full and are now out here include Royal House ‘Can You Party?’ (Champion CHAMP 1017), Karyn White ‘Karyn White’ (Warner Bros WX235) … Motown are bringing over The Boys for exposure on kids’ TV at the beginning of November … Everton Webb is expanding his club, radio and shop promotions list at Sidestep Promotions, which although closely linked to the Kool Kat label actually operates independently, plugging other people’s product too, at Studio House, 10 Bishopgate Street, Birmingham, West Midlands B15 1ET (021-643 6584) … Supreme Records – and this is not an invitation to join their mailing list! – are now at 1a Waterlow Road, London N19 5JN (01-281 6292) … Islington Music Workshop – home of the I-M-W label – at 44 Peartree Street, London EC1V 3SB (01-608 0231) is about to start new low cost courses for students of 24 track recording, sampling/programming/scratching, and electronic music (call for details now) … Japanese TV filmed DJs Norman Scott and Jamie Peters and their gay audience at London’s Bang! for a prime time magazine programme, and when asked why they had chosen that over any other London club, the crew answered “Because Bang! is world famous” … Thames Television likewise filmed Streatham’s Project at Zigi’s for last Monday’s ‘Reporting London’, but inevitably were investigating the acid house/ecstasy connection, drawing from DJ Paul Oakenfold the comment, “The original scene was not based on drugs, it never was” … ITN had filmed Jon Jules’ acid Thursday at Ealing’s Broadway Boulevard, and a warehouse party, for last Tuesday’s news reports, for similar reasons (Richard Branson talked about “acid rock” – maybe he should stick to ballooning now?) … Chris Paul has started “static house” Mondays at London’s drugs-free Camden Palace – I gave you the whisper about “static house” some weeks back, stay tuned for more details … Mark Summers (Braintree Fantasy, Sudbury Hippodrome) observes that most dancers requesting “acid” cannot actually name any individual artists or titles when asked, answering “I dunno who or what it’s called, just any acid!” – this lack of identity must explain where there have been so few acid hits, and why even DJs tend to buy anything that’s safely labelled with the word “acid” in the title … Mr Lee PAs at Swansea’s Martha’s Vineyard next Monday (October 17) … Tim Westwood has left South Harrow’s Bogarts, where Chad Jackson joins Jon Jules on hip hop Sundays now … Radio Luxembourg has increased its soul output at the weekend, from midnight to 3am every Friday, Saturday and Sunday night … Full Force’s deliberate application of crackling surface noise over James Brown’s ‘Static’ seems to have started a fashion for other productions to emphasise their scratch mix origins by using purposefully crackling old records, The Real Roxanne’s ‘Her Bad Self (The Posse Mix)’ and I.S.P. ‘I’m On A Roll’ being some of the latest examples … Les Adams gets kids hanging around outside his house listening to all the acid remixes he’s doing as they seep (that’s a joke – roar, more like) through his studio window, and now the kids have started knocking on the door to ask for requests! … Simon Harris won the World Yo-Yo Championships back in 1975, and remains the champ as there hasn’t been another championship contest since! … NANU NANU!
HOT VINYL
THE REAL ROXANNE ‘Respect’ (US Select FMS 62318)
Exploding on import, this Hitman Howie Tee produced bassily rumbling 112-0bpm scratchy scolding rap-jitterer (111⅚-0bpm Instrumental) keeps dropping into Aretha Franklin’s ‘Respect’ with Dee Dee Scott recreating the vocal. and a guy complaining “I tell you I can’t relax, you know”, the Jam Master Jay and L.A. Posse produced 0-104½bpm ‘Her Bad Self‘ flip (in three mixes) being based all the way through on the Average White Band’s ‘Pick Up The Pieces’, which may not be entirely original right now but sounds useful.
ORIGINAL CONCEPT ‘Charlie Sez’ (Def Jam 653032 6)
Often imitated in their absence, the wrecking krew return on a hot three-tracker with this raucously shouted then fast talked wordy 0-106⅙-0bpm scrubbingly scratched bumpily lurching chugger full of frenetic though contained activity, flipped by the jumpily jittering 110⅔bpm ‘Runnin Yo’ Mouth‘ and nervy break beat nagged 108⅔bpm ‘Gottanotha Funky Break 4-U -> Hit It!’, all equally good with perhaps the flipside pair being strongest.
THE BRAT PACK ‘So Many Ways (Do It Properly Part II)’ (Breakout USAT 646)
UK copies of the Robert Clivilles & David Cole created dementedly frantic continuation of their 2 Puerto Ricans A Blackman And A Dominican jack track have just the shouting “oh you bastard, come here by my side, listen honey, listen baby, don’t be so f***in’ serious!” started (0-)122⅓-122¼bpm Worldwide DJ Anthem (ending in female groaning that sounds as if it’s from the Chakachas’ ‘Jungle Fever’), scratching 123⅓-0bpm TT’s Bitten Again Dub and percussive 122¼-122bpm Worldwide B-Boy Killer Anthem versions. Continue reading “October 15, 1988: The Real Roxanne, Original Concept, The Brat Pack, Big Lady K, Jamie Principle”
NETWORK PRESS’s Hamburg party for DJs featured a long acid house session by the now truly international London jock Colin Faver, before slumping into boring doldrums until the London lads came to the aid of the party again, Les Adams and Simon Harris following each other with 15 minute mixing sets that they made sure everyone could hear — Les had taken to use in Germany a prototype set (the first in Britain) of Stanton’s 890AL DJ Pro cartridges and styli, designed with his and other DJs’ input especially for scratch mixers, both he and Simon remarking that they performed superbly with not a single jump or miscue during fierce use … Ben Liebrand’s remix of Bill Withers ‘Lovely Day’ is called the Sunshine Mix with good reason, it borrows the drums from San Antonio, Texas, born but now Germany based Sydney Youngblood’s similar earlier treatment of ‘Ain’t No Sunshine’! … Charles Edward Shaw, from Houston, Texas, although based in Mannheim for the last 10 years, actually did the rapping bits in Milli Vanilli’s ‘Girl You Know It’s True’, and says his own imminent ‘Does Your Mother Know‘ on German Musicolor “will tell the truth” … Les Adams, confronted by a D and an H on two separate doors when looking for the loo, had to come back and ask which was Ladies and which was Gents (Damen and Herren)! … Simon Harris ‘Here Comes That Sound’ has actually come out in Germany on Metronome ahead of the UK, where its commercial release will eventually be as a total remix … Adrenalin M.O.D.’s slightly retitled ‘O-O-O-O‘ has been promoed as a (0-)122¾bpm seven inch radio version (MCA Records RAGA 2) ahead of new 12 inch pressings, now featuring vocals by Rose Windross (of Soul II Soul fame) as well as its Serious Intention derived title line hook chant … Wee Papa Girl Rappers ‘Wee Rule’, now that it’s finally released, turns out to be subtitled the Ragamuffin Mix — and I realise should actually be 0-94-95¾-95½-0bpm instead of the constant speed originally assumed — with the funky 0-114bpm ‘Rebel Rap‘ as flip … Hot Mix 5 Inc’s various artists import ‘Acid’ LP has been released here as ‘Acid House‘ on Jack Trax (DOT 1), with the same tunes apart from Fingers’ ‘Ecstasy’ being replaced by Armando’s smurfs started twittery 124½bpm ‘Confusion’s Revenge‘ … K-tel’s ‘The Coolest Cuts’ Shakatak compilation LP (NE 1422) includes a ‘Down On The Street’-based 121¾-0bpm ‘Shakatak Megamix’ bonus 12 inch … Pete Tong’s soul show on Capital Radio now runs from 5-8pm every Saturday, incorporating a realistic “street sales” top 10 (about time too), while Tim Westwood follows from 8-10pm (plus he has an extended midnight-1.30am Friday night slot) with his rap cuts, David Rodigan’s reggae filling 10pm-midnight before Alex ‘Anders’ George spins funk/soul/jazz through Sunday’s wee small hours from midnight-4am, Chris Forbes starting a new house show on Saturday mornings 1.30-4am (following on from Tim) … Greg Edwards has recorded a rap revival of Instant Funk ‘Got My Mind Made Up’, due out as by the Ambassadors Of Funk initially in the US on Next Plateau Records Inc! … Fourth & Broadway have signed up the Delicious Vinyl label here and are rush releasing Young MC ‘Know How‘ as UK A-side, with a live showcase of the label’s acts being planned to follow … Westside Records appear to be releasing The Todd Terry Project’s double-sided import smash here … Blaze ‘Can’t Win For Losin’’ turns out not to be released commercially here until November 7 … Public Enemy could be heading for a personnel change, inside sources suggest … Mantronik is looking for a new rapper now that his Mantronix partner MC Tee has joined the US Air Force … Graham Central Station have reformed to make a comeback album on Preston Glass’s label, Gourmet Records … Tricky Dicky Scanes is selling so much Balearic material (to all types of DJ) at his Trax record shop in Soho’s Greek Street that he can compile an accurate and genuine sales chart, the big hits over the last fortnight being 1 William Pitt ‘City Lights‘ (Sierra), 2 Code 61 ‘Drop The Deal‘ (German BCM), 3 Bappi Lahiri ‘Habiba‘ (Hi-Hat), 4 Fantasy Ten ‘Big Bang‘ (Greyhound), 5 Mandy ‘I Just Can’t Wait (Cool & Breezy Jazz Mix)‘ (PWL), 6 Tijeritas ‘Bamboleo‘ (Spanish Epic), 7 Electra ‘Jibaro (Remix)‘ (ffrr), 10 Project Club ‘Dance With The Devil‘ (Supreme) [#8 & #9 not printed – see comments] … ffrr’s ‘Balearic Beats Vol. 1‘ compilation LP (FFRLP 5) contains previously reviewed (and some charted above) material by Electra, Code 61, Beats Workin’, Mandy Smith, Nitzer Ebb, Fini Tribe and the Thrashing Doves, plus unreviewed (although doubtless I’ll get around to them all, especially if, as seems likely, the set hits The Club Chart) tracks by the Residents, Woodentops, and Enzo Avitabile … Vanessa Holmes has taken over from Zoe Glitherow at WEA as Fred Dove’s club promotion co-ordinator — Zoe is joining Mike Olivier to help run the new Middlesex Sound Installations in Rayners Lane, Harrow … Marie Birch of Sound Promotions has been suffering from chicken pox, which has kept DJs at more than arm’s length, and, seemingly always on the move, she’s now based at 17 Scott Crescent, South Harrow. Middlesex (01-723 8092) … Dean Meredith is updating the DJ mailing list at Blue Chip, 4 Gaol Mews, Gaol Road, Stafford … Imagination are live this Wednesday (5) at Darlington’s Zhivagos, where DJ and promotions manager Jack Wood offers (on 0325-463647, office hours) to organise club tours in the area for record companies trying to break new acts … Fantasy Mondays now at Brighton’s Pink Coconut feature acid, Balearic, house and garage with Paul Clark, Warrick and Craig … Will Downing has been added to the bill for the Blackpool soul weekender … Les Adams has remixed Blow ‘Change (Makes You Want To Hustle)’, bringing out the tune more … Rayners Lane’s Record & Disco Centre salesman Wayne Boyce came up with a killer mix, repeatedly flicking the synth bits from This Ain’t Chicago’s Acid Not Placid mix through Inner City’s ‘Big Fun’ … Paul Rutherford seemed to begin, so far as The Club Chart was concerned, as another East Midlands breakout … Disco Mix Club boss Tony Prince has finally followed my lead and bought a Cannon EOS 650 autofocus camera for trouble free shooting in the dark! … 1988 looks like being a vintage year for future rare grooves, as you can be sure that in a few years’ time, when the second hand bins will be jammed with drastically dated sounding and unwanted acid house, everyone will be paying inflated paces for all the good non-acid stuff that they missed at the time, now, just like the Seventies were later plundered by the first wave of rare groove seekers … Royal Mail deliveries are still far from back to normal, so don’t forget you can FAX us your DJ charts on 01-388 9576… NANU NANU!
RITZY CRACKER
PHIL FRANCE, resident DJ at The Ritzy in Nottingham, celebrated the Mecca venue’s second anniversary by once again honouring some of the previous year’s most important contributors to dance music. Last year it was Stock Aitken Waterman who were honoured, Pete Waterman and Matt Aitken turning up with Rick Astley, Sinitta and Mandy Smith, all of whom put on crowd pleasing performances, as you might imagine.
This year, for excellent musical reasons, Phil chose to honour Coldcut along with the Ahead Of Our Time and Big Life labels. Unfortunately, these fledgling labels do not so far have much of an artist roster, and, as Yazz (whose appearance would obviously have been greatly appreciated by the Nottingham crowd) was tied up in the studio that night recording her album, it was just Coldcut’s Jonathon More and Matt Black who appeared fleetingly to collect their award. Installed only hours before, a 25 screen video wall was able to show their singles, but this was a poor substitute for live performances.
JOHN PAUL BARRETT
Luckily Westside Records artiste John Paul Barrett was on hand for a vigorous personal appearance. Sabrina had been expected, but (as the tabloid press had already announced) was laid up ill, while Germany’s chart-topping Milli Vanilli had come along for the bus ride incognito, without their stage wear, and refused to go on. So, a bit of a damp squib in comparison with last year’s glitzy affair, the night turned into a regular disco session despite the resplendent presence of both the Mayor and Sheriff Of Nottingham, plus all the Mecca bigwigs. It’s bad luck Phil didn’t manage to get Yazz, at least.
HAMBURG HI-JINKS
NETWORK PRESS, Germany’s fortnightly DJ magazine (in which I write a column), celebrated its 50th issue last Monday with a party in Hamburg at a dub called Base. I wasn’t thinking of going to it until I discovered just the night before that Les Adams and Emma Freilich of LA Mix were doing a mixing set there, so we flew over together —and discovered on the same plane Simon Harris, Steven Danté, Baby Ford, and Colin Faver! As you can imagine the British contingent had a fine old time, joining up also with Simon’s Music Of Life label partner Chris France, and BCM Records owner Brian Carter, while Jellybean was also hangin’ out. For further titbits, see Beats & Pieces.
BRIAN CARTER – the Germany based Englishman whose two years old BCM Records pioneered the Compact Disc release of “house” and other dance music styles, before securing a German number one and European smash with B.V.S.M.P.
HOT VINYL
THOMPSON TWINS ‘In The Name Of Love ’88 (Railroad Mix)’ (Arista 611 808)
Shep Pettibone’s spurtingly smacking and funkily rolling 116¼-0bpm remix of this early Thompsons track borrows its pulsing bassline from Ten City’s ‘Right Back To You’ and has surprised everyone (Arista included) by being snapped up by house jocks the instant it appeared on import (only the Railroad Dub flips it here). A national smash!
PUBLIC ENEMY ‘Night Of The Living Baseheads (Anti-High Blood Pressure Encounter Mix)’ (Def Jam XPR 1389)
Due for full review when out properly on four-track 12 inch, their album’s hottest floor-filler is initially on just this violently scratched jiggly churning 104¼-104½-0-104½bpm new version on white label promo.
James Hamilton's Disco Page 